Poetic Order Research Articles

«ТРИПТИХ» ПЕТРА ФОМЕНКО: ОСНОВНЫЕ ПРИНЦИПЫ И ПРИМЕРЫ ДРАМАТИЗАЦИИ

The article focuses on Pyotr Fomenko's (1932–2012) last theatre production — "Triptych", staged at the "Pyotr Fomenko Workshop" in 2009. The director combined three texts by Alexander Pushkin: "Count Nulin", "The Stone Guest" and "Scene from Faust". The performance reflected the director's main principles of working with a literary text, such as the introduction of a conditional narrator, the use of rough drafts and texts by other authors, and musical and lyrical fragments. Fractional structure of the performance gave it a poetic order and allowed to consider it within the traditions of poetic theater. While the internal connection of each of the literary texts is causal, the director complicated the structural connections and combined the texts by association, freely comparing one story with another.

A Metatheatrical Reading of Baroque and Neobaroque Texts: Entremés del retablo de las maravillas (1615) and De donde son los cantantes (1967)

This article examines the diachronic use of metatheater in Cervantes’s Entremés del retablo de las maravillas (1615) and “La Dolores Rondón,” the second tale in Severo Sarduy’s novel, De donde son los cantantes (1967). Both works are structured as a play-with-in-a-play, including the internal theatrical pieces and the external debates, where the authors problematize literary language/representation in their respective times. This article further explores the organizational differences between metatheatrical Baroque and Neobaroque texts. In the Entremés, two charlatans trick a group of villagers fearful of the “limpieza de sangre” into seeing marvelous scenes. This Baroque play suggests the omnipresence of the Spanish Empire, while criticizing the trendy performance of comedia nueva in Cervantes’s time. “La Dolores Rondón,” by comparison, fails to deliver a coherent piece of theater. Following the tradition of the Cuban “choteo,” the characters humorously demonstrate that all “realities” are fictional and that the text progresses without the guidance of chronological or poetic order. Sarduy’s Neobaroque narrative seeks to break away from authoritative literary discourse and to repudiate the logocentrism embedded in Latin American epistemology.

A Poetic Order of Excess: Essays on Poets and Poetry by José Lezama Lima

A Poetic Order of Excess: Essays on Poets and Poetry by José Lezama Lima

Bakhtin and Lotman: Pushkin’s Eugene Onegin as Space for Dialogue

The author of this paper carries out a comparative reading of Bakhtin’s theory of the novel and Lotman’s theory of the novel on the basis of Pushkin’s Eugene Onegin. The general plan of these theories includes the issue of language and genre, dialogue and dynamic development and the set of “living”. In the course of an analysis of these issues, a special model of dialogization between the texts of these two men of letters will be illuminated, according to which the novel starts “living” and being a fact of another poetic order (a new construct), becoming more than a sociographic unit.

Binary Pattern Generation of Poetic Order in Sanskrit Poetic Meters

The Pattern generation and Analysis is the technique of recognizing an object say, a target in combat space. The combat space T consists of targets of three types i) Wanted Targets W ii) Rejected Targets R iii) Unknown Targets U So that T = W ? R ? U The description of object is called pattern.Charaterization of pattern class by common properties shared by all of its members is another basic concept used in design of an pattern recognisation system. Main objective of this approach is to determine common properties from finite set of samples patterns and to examine a new pattern for a suitable switch. In signal processing , the role of input is vital to recognize objects. The input to the digital computer refers to any data or instructions entered into the memory. Data is a set of meaningful perceptual observations about an entity expressed in numerical ,alphabetical, graphical or mixed form. While Instructions refer to a set of action commands issued to CPU to tell a computer how to perform the tasks necessary to process data into information. Digital computer can accept the input via written/typed form through keyboard or the spoken/audio form through microphone. A great deal of work has been done in evaluating speech as a means of computer input. The present paper suggests the rhythmic syllable arrangements in various poetic meters as a means of audio input, directly producing binary code. Such binary syllable arrangement has been envisaged by Pingalacharya [1] . His Chhandas Shastra or science of poetic meters in Sanskrit is a well known classical treatise on Prosody. It deals with the rhythmic syllable arrangements in various poetic meters. According to Chhandas Shastra [2] every pronounced letter is either “Laghu” or Short [0] and “Guru” or Long[1] and each poetic meter is based on their fixed sequence[3]. Hence desired binary input sequence could be produced merely by utterance of corresponding syllables. Case studies of over 15 sets of such voice samples by male/ female/child candidates were conducted and the resulting binary sequences are presented with corresponding accuracies.

Binary Pattern Generation of Poetic Order in Sanskrit Poetic Meters

The Pattern generation and Analysis is the technique of recognizing an object say, a target in combat space. The combat space T consists of targets of three typesi) Wanted Targets W ii) Rejected Targets R iii) Unknown Targets U So that T = W ? R? UThe description of object is called pattern.Charaterization of pattern class by common properties shared by all of its members is another basic concept used in design of an pattern recognisationsystem. Main objective of this approach is to determine common properties from finite set of samplespatterns and to examine a new pattern for a suitable switch. In signal processing , the role of input is vital to recognize objects. The input to the digital computer refers to any data or instructions enteredinto the memory. Data is a set of meaningful perceptual observations about an entity expressed innumerical ,alphabetical, graphical or mixed form. While Instructions refer to a set of action commands issued to CPU to tell a computer how to perform the tasks necessary to process data into information.Digital computer can accept the input via written/typed form through keyboard or the spoken/audioform through microphone. A great deal of work has been done in evaluating speech as a means of computer input. The present paper suggests the rhythmic syllable arrangements in various poeticmeters as a means of audio input, directly producing binary code. Such binary syllable arrangementhas been envisaged by Pingalacharya [1] . His Chhandas Shastra or science of poetic meters inSanskrit is a well known classical treatise on Prosody. It deals with the rhythmic syllablearrangements in various poetic meters. According to Chhandas Shastra [2] every pronounced letter iseither “Laghu” or Short [0] and “Guru” or Long[1] and each poetic meter is based on their fixedsequence[3]. Hence desired binary input sequence could be produced merely by utterance ofcorresponding syllables. Case studies of over 15 sets of such voice samples by male/ female/childcandidates were conducted and the resulting binary sequences are presented with correspondingaccuracies.

Robert Musil's Kinetic Gestures

This study of Robert Musil's The Man Without Qualities explores the relationship between poetic order and disorder. At the intersection of Musil scholarship and science studies, it has become customary to suggest an asymmetrical relationship in which the novel's formal development, in a direct correlation with the notion of entropy from physics, works unilaterally toward disintegration, which also explains the novel's unfinishedness. Rejecting this view, the present study claims that Musil's engagement of form as activity needs to be conceived in terms of a structural interdependence between randomizing and organizing effects of “kinetic energy,” producing disintegration and integration of form alike. This focus generates a novel method of investigation that singles out kinetic activity as a distinctive layer of poetic performance, thus establishing movement as an object of inquiry in its own right. Specifically, the study has the following aims: (1) To identify particular recurrent kinetic gestures or formulas that reign over the poetic process. Since they appear independent of a particular medium, one and the same gesture may extend across poetic parameters as varied as description, plot, imagery, syntactic structure, phonetics, or rhythm. (2) To develop the structural features through which such gestures generate and stabilize order. Neither representational nor abstract, the gestures form singular articulations that do not depict the things of the world but display their kinetic substrate; they surpass regular actuality by performing an enhanced, condensed, and intensified actuality. (3) To relate order and disorder not as mutually exclusive but as strictly interdependent tendencies within the overall economy of the novel's formal cohesiveness—a “metabolism” of poetic “entropy” and “negentropy.” In its conclusion, the study offers a suggestion as to why it is that Musil's novel remained unfinished: Precisely in its structural inconclusiveness, it achieves an overall stability of its form.

Embedded poetics and surrounding politics of a coastal squatter settlement

This article explores the poetics of built environment at Wedge, a squatter community located on the Western Australian coastline, and uncovers its surrounding politics. Built and un-built patterns at Wedge are chaotic, organic and ambiguous, and yet there are glimpses of a poetic order within the decayed fragments from within its vernacular built form. The article explores this poetic order and further un-layers the politics of the place by revealing the desires of different stakeholders involved in its ‘planned development’. Are the poetics at Wedge under threat from the nature of the political game being played here? Is the very act of ‘ordering and planning’ this place going to result in a loss of its cultural significance, and the creation of a place based on the conflicting desires of the various stake-holders?

POETIC SPEECH ACTS. A HYPOTHESIS OF TWO CONTEXTS

THE COACHMAN (pulls the coach door open): Wachen Sie auf! Horen Sie! (two lights in the darkness draw attention to themselves.) Herr, wachen Sie doch auf, es is Zeit! (Shouting.) Es ist die hochste Zeit! (From the coach door a gentleman in a dark coat emerges, as if still half asleep.) Vaino Vahing, Madis Koiv. Faehlmann 1. Towards analytic poetics Analytic philosophy (i.e. philosophy that uses logic as its method) that was created by Gottlob Frege in the linguistic turn embraces the idea that language research or semiotics can be divided (according to the well-known distinction by Charles Morris) into three branches--syntax, semantics and pragmatics. The first of them is concerned with the interrelationships of expressions themselves, the second covers their relationships with the world and meanings, the third, the relations apparent in the usage of expressions and meanings. Naturally, this is but an abstract differentiation: although an analysis of the usage of literary language should first and foremost be the province of a pragmatics of poetic language usage (should such a discipline emerge more distinctly some day), no poetics can be conceived of without the data of syntax or semantics. It is within the limits of these two that most of the research has been carried out, with elements belonging to pragmatics having been drawn along intuitively. On the other hand, speech act theory does not belong to the narrow field of linguistic pragmatics, as meaning and usage are bound up inseparably and logically--rather, what we have at hand is general semantics in the framework of semiotics (see also Vanderveken 1990: 65-75). Poetic speech is more complicated and higher than ordinary speech, a language usage governed by numerous new restrictions that is often referred to (e.g. Lotman 1972: 18-23) as a secondary modelling system above or underlying the primary one. Jakobsonian treatments (see Jakobson 1960) clearly show the simultaneous superimposed position, as well as logical precedence of the poetic order as a particular kind of axiomatics as to everyday language usage. Of course, it is against the background of ordinary language as the primary system that literary language appears as secondarily modelling; an even more general semiotic approach would rather prefer a hierarchy of three stages. When we unite the natural and conventional meanings ([meaning.sub.NN]) differentiated by Grice (Grice 1989c) and the notions of the tertiary modelling system developed by Thomas Sebeok (Sebeok 1994) we would get the following scheme of functioning of a sign system. [FIGURE 1 OMITTED] An analysis of the poetic language usage shows that the theory of speech acts should and can be greatly refined to describe speech of the rhetorical type. But it is possible to do it well, for the illocutionary logic, being a well-formed theory by nature, allows for a successful addition of new formal layers--everything should be definable, reducible and transparent, at least in principle. Study of literature that departs from these premises, i.e. linguistic criticism (q.v. Fowler 1986) would without difficulties fulfil the requirement of scientific quality in the sense of Immanuel Kant. 2. The theory of speech acts I have been trying to introduce the speech act theory into the Estonian-language mindspace, setting the developing of a respective conceptual network for poetics as my further aim (see Merilai 1998, 2001). As is known, the speech act theory was launched by John L. Austin (see Austin 1984 (1982)), yet it was in the philosophy of John R. Searle (see Searle 1992 (1969)) that it gained its established standard formulation. In co-operation with Searle, Daniel Vanderweken began to develop illocutive logic (see Searle, Vanderveken 1985, Vanderveken 1990, 1991). The theory divides simple speech acts into five categories: assertives, i.e. saying how things are (A), comissives, i. …

The Poetic Order of Healing in a Czech Incantation against Erysipelas

The Poetic Order of Healing in a Czech Incantation against Erysipelas

Radical Utterances from the Soul's Abysms: Toward a New Sense of Whitman

Contrary to widely accepted arguments, Whitman's poems did not resolve the unconscious conflicts from which they sprang; nor did they indicate the resolution of philosophical questions or psychological conflicts. Neither should they be judged according to their success or failure in such analogical pursuits. Instead they must be judged according to the honesty and courage with which Whitman confronted the chaos within himself and according to the amount and quality of poetic order with which he was able to express the chaos within. If seen in a psychoanalytic context, Whitman's mystical or transcendental moments—moments of apparent attunement with the universe—are wishful assertions, comparable to psychological catharsis—“catharsis” being an experience which gives the illusion that conflicts are resolved when in fact they are not. There is bibliographical and biographical evidence in support of these arguments, but the strongest evidence comes from the literary analysis of such exemplary poems as “Clef Poem,” “As I Ebb'd with the Ocean of Life,” “There Was a Child Went Forth,” and “Out of the Cradle Endlessly Rocking.”

Hembygden som självkännedom och folkbildning. Theodor Hellman och daningen av en poetisk hembygd och centralanstalt för en nationell enhetsskola på Murberget i Härnösand

“Know thyself”: this antique aphorism was re-actualised in the late nineteenth century as a credo for the museums of cultural history in Scandinavia. In this essay, this aphorism will be explored in close relation to the concept of hembygd. It is argued that these two concepts were intertwined into a foundation for an organic knowledge theory, which was in turn spread to a political nationalistic sphere and into the planning of a national unitary school for all classes in Sweden. In the early twentieth century, the museum curator and elementary school inspector Theodor Hellman formulated his concept of hembygd. Through his contemporary, the philosopher Hans Larsson, the concept will be presented as an intuitive whole, i.e. as a higher poetic order of knowledge in which thought intertwines with feeling. I argue that Hellman in his hembygd reworked Larsson’s idea of ‘intuition’ to a nationalistic essence. This hembygd took the Swedish people back home to a true sense of reality, to its national roots, and to an organic understanding of its place in history and society. Also, to attain scholarly legitimacy, the concept of hembygd was blended with general aspects of Cultural Darwinism to a cocktail of idealism and naturalism. As such an essence, hembygd was fundamental for the heritage institutions established in Härnösand after the dissolution of the Swedish-Norwegian Union in 1905.

Latin Poetic Order with Special Reference to Horace Epodes 5. 19

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